Followers of the UK debates around cultural and academic boycott will be well aware of the launch of the new anti-boycott group ‘Culture for Co-existence’, a response to this year’s significant formation of Artists For Palestine UK (APUK), which has to date garnered over 1090 signatures for its Artists Pledge for Palestine, and has in addition published a 64 page book The Case for a Cultural Boycott of Israel, a comprehensive response to all the questions that typically arise about the campaign.

In their recent brief letter to The Guardian (Oct 23) signed by, among others, J.K. Rowling and Simon Schama, ‘Culture for Co-existence’ argues that ‘Cultural boycotts singling out Israel are divisive and discriminatory and do not bring peace’ while ‘cultural engagement builds bridges, nurtures freedom and positive movement for change.’

I was sorry and frustrated, but not surprised, to see the cultural and academic boycott of Israel once again misrepresented by its opponents. Rather than research the issue and respond to the detailed case we have time and again put forward, the signatories have made veiled accusations of anti-Semitism, and in their own defense have offered only easy slogans that bear no relevance to how the arts are in fact leveraged in Israel.

Once again it must be pointed out that pro-boycott campaigners do not ‘single out’ Israel. Many of us also reject funding or prizes from other authoritarian regimes. I’ve never been offered such a prize, but I didn’t watch a minute of the Sochi Olympics – and this was a sacrifice, as I love figure skating. Not watching TV is not, however, an effective political action. The boycott of Israel has gained such traction and visibility – and carries additional moral weight – because it is not simply a set of isolated refusals, but a growing collective response to an organised call made by the Palestinians themselves. This demand for solidarity from artists, writers and academics comes from the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), whose existence ‘Culture for Co-existence’ signally fails to acknowledge.

In addition, far from being ‘discriminatory’, the entire boycott movement is grounded in respect for human rights and international law. It does not target individuals at all, let alone on the basis of religion or nationality. Rather, it rejects co-operation with Israeli institutions and the Israeli state, insisting that we not accept cultural offerings funded by a government actively engaged in ethnic cleansing and illegal occupation in defense of an apartheid state. Like its great precedent against apartheid South Africa, the boycott also asks international artists to reject commercial ventures in Israel until such time as the country honours its responsibilities under international law. If signatories would not have ‘played Sun City’, then they should not play Tel Aviv.

I am a poet and novelist and I do believe in the power of art to generate empathy and understanding for others. But art exists within a globalised economy of money and power, and cultural products cannot be automatically assumed to nurture positive political change: in fact, they may well do the opposite. In the case of Israel ‘cultural bridges’ serve only to strengthen a highly privileged relationship with the West. Decades worth of literary prizes, rock-n-roll concerts in Tel Aviv, and state-sponsored theatre tours of UK have not led to freedom for the Palestinians and peace for all in the region. Cultural engagement has not even put a brake on Israel’s relentless expansion of settlements, its demographic warfare on its Arab citizens, or its ruthless assaults on Gaza. In Israel the arts flourish, but the situation for the Palestinians simply gets worse. Cultural events are not neutral, either: they buttress the country’s self-styled reputation as a ‘liberal democracy’, a reputation that ensures its war crimes do not simply go unpunished, but are rewarded with sympathy, respect, and eye-watering amounts of military and financial aid.

In contrast, the boycott, divestment and sanctions movement subjects Israel to sustained moral pressure, and provokes the honest and informed debate that all campaign proponents welcome. Finally, cultural and academic boycott does not burn bridges. Nothing in the PACBI call prevents cultural exchanges or intellectual collaborations between Israelis and Palestinians, or visits to the UK from Israeli artists, as long as these events do not involve Israeli state or institutional funding.

For further replies to the ‘Culture for Co-existence’ letter, please see PACBI’s Open Letter to JK Rowling, the astute analysis by BWISP member Sarah Irving of the Zionist actors driving the group, and statements by British artists for APUK.

* * *

Very sadly, I must also report in this update the loss of novelist, short story writer and BWISP co-founder Irving Weinman, who died suddenly on October 26th 2015, at the age of 78. His loss will be keenly felt by many. I first met Irving in 2007, when I came to Lewes to interview his wife Judith Kazantzis about her poetry. At the end of the interview, Irving joined us from the kitchen with three stubby bottles of beer on a tray, and we never looked back. I became a frequent visitor to their colourful home, often spoiled by Irving’s fabulous pescatarian cooking, always entertained by his marvelous raconteurship and inspired by his warm internationalism. Irving’s parents were shtetl Jews from Romania who lived in Paris before emigrated to Boston in the thirties where Irving was born. His mother spoke seven languages and Irving grew up hearing mainly Yiddish, Russian and French, and also much music in the house. A talented jazz pianist, Irving switched allegiance to literature in his youth. He attended writing classes with Sylvia Plath and Anne Sexton, called James Baldwin ‘Jimmy’, and co-founded the Key West Writers Workshop and Lewes Needlewriters. As well as successful crime novels, he wrote powerful literary fiction. Wolf Tones is funny and tough, a punchy, insightful portrait of a difficult father-son relationship, and ‘the sad arterioscleroris of America’.

Irving, Judith and I founded British Writers In Support of Palestine in 2010, and Irving was a prime force behind BWISP’s early recruitment drive and letter writing campaigns. He also lent his significant presence to local supermarket protests, and spent four weeks in 2010 as a driver for the Road to Hope Convoy to Gaza, blogging en route. In a tribute penned for his own anti-fascist blog and reposted by Jews for Justice for Palestine, Tony Greenstein notes ‘Irving stood in an anti-racist tradition that went back to the Jewish fight against anti-Semitism in Europe, not the Zionist tradition of anti-Arab racism. Irving was proud to be Jewish. His attitude to Israel’s war crimes was ‘not in my name’.’

Recently, Irving published books on the craft of fiction, and was writing short stories based on his family history, including the experience of refugees fleeing the pogroms. He spoke of his mother to me after I returned from Odesa last year – he was very taken by the fact I had seen Isaac Babel’s drinks cabinet in the city’s small Jewish museum. I still have Irving’s copy of Shlomo Sand’s The Invention of the Jewish People on my shelves, and there are many more conversations I would dearly love to have had with him. He is survived by Judith Kazantzis and her daughter Miranda; his son and daughter in America, Michael and Zoe; as well as grandchildren. Farewell to a wonderful friend.

I’m writing as a novelist, like Howard Jacobson; as a Jew, like Howard Jacobson. Unlike Howard Jacobson, I’m American, though resident in England. Also unlike Howard Jacobson, I’m not a Zionist.

In writing what he has, Jacobson reveals his arguments for anyone to read and comment upon. And the fact is, his arguments are nonsensical. Does he really believe that Palestinian children in Gaza have the same sort of quality of life that Israeli children do? Do 80% of Israeli children depend on UN food relief for basic nourishment? No, Mr. Jacobson, this flotilla is about helping Palestinians in need. No, Mr. Jacobson, this flotilla is not going to enter Israeli waters, and stopping it outside Israeli waters breaks international maritime laws. No, Mr. Jacobson, the boats will willingly be searched for weapons. No, Mr. Jacobson, Israel will not take the cargo and deliver it. They didn’t with any of the other flotilla boats they stopped and whose cargo they took. And mostly, no, Mr. Jacobson you are not going to change the subject to the kids of Israel. This is about the kids of Gaza, the ones who get to go hungry, go without clean drinking water, get white phosphorus dropped on them by Israeli grownups who indeed were once Israeli kids.

Irving Weinman

So Israel supporter Howard Jacobson derides the brave Alice Walker and all the others on Flotilla II. It’s as if a Somali pirate were to blame a ship for being in the Indian Ocean. The UN makes the two points over and over again that, first, Israel is blockading Gazan waters –which do not belong to Israel – and, second, Israel has no right under international law to arrest any other ship in international waters. Should we infer that Jacobson as a British citizen denies established international maritime law?

Howard Jacobson may think that the only good Americans are in AIPAC or the AIPAC packed Congress. Most of the left and the liberal left will see Alice Walker’s presence as heroic witness in a woman of 67 who needs no publicity but is ready to run the blockade in the name of justice and humanity. Perhaps in the long watches of the night, Mr. Jacobson finds himself a little bit jealous of such courage; but don’t bet on it. He sounds more likely to hero-worship one of those tough Israeli pilots whose play-station childhoods (bang – splatter) train them to button-push unmanned drones to bomb Palestinian children (bang – splatter) and to consider such murdering a patriotic virtue.

As for the super weapon(s) with which it seems Mr Jacobson fears Gazans would annihilate Israel if they weren’t starved and besieged, this is official Israel Press Office paranoia – code name Tell It Like You Mean It – looped like a spider web round the world’s media to justify the eternal occupation of the Palestinians. The Big Lie. Not as pretty as a spider web.

April 5, 2011

The jokes land in ploughed fields
or bash into a wall or two.
Laughing so hard killed one soldier
in a year and wounded several civilians.
Still, fun in the wheat,
whistling over a closed border,
a blockade and a siege to boot,
we were not amused.

Finally we couldn’t resist.
Unable to stifle our own
more democratic laughter,
and ever eager to impart our
more civilized sense of fun,
we ran a hilarious sitcom
over three weeks
for 1400 Gazans.

What a show!
They fell over laughing.
They crawled, howling. No surprise.
We have perfect timing, delivery,
state of the art material.
See what happens to clumsy jokes
about the birth town
of the Minister of Defence.

Judith Kazantzis

8th March 2009

Happy International Women’s Day
to the women of Gaza
from the international community.

Sorry we have been unable to take your call
Sorry you have been held in a queue
Your call is important to us.
Press one for the usual disillusion
two for a no state final solution
Press nought for nothing, nada,
zero, zilch, absolutely jack shit and sweet fuck all

Hold for an operator. Hello. Hello? Hello?

Frankie Green

How to Settle

Get a title deed from God,
and a blank cheque from your sponsors.
It also helps to bully the U.N.
Lie. Build. Kill.
Build, build, build.

Ignore that shape at the corner of your eye.
Like a man on a planet with twin suns
you have a double shadow.
One thrown down on the hot hard road
built by the army purely for you,
the second lying faint on the grass behind you.
Watch as you pause on a hilltop,
overlooking your conquest:
here comes the Other,
whose invisibility lets you be seen.
His silence gives you speech.

Here, where your every presence marks
an absence, this land is haunted
by the woman always thinking
of this valley, this field, the ruins
of this house, whose door is remembered
only by the flesh of cactus
and she whose olive trees you harvest,
who follows you, clasping a ghostly key,
whispering in your ear, louder and louder:
my place, my place.

Carry on ignoring them. Of course you belong
God has given you the nuclear bomb to prove it.

Frankie Green

Judith Kazantzis is a poet, novelist and activist based in East Sussex. Frankie Green is a writer, musician and activist living in Kent.

The best of this bright season to all our readers from everyone at BWISP. We are thinking especially of the people of Bethlehem at this time, and highlighted their plight to the people of Brighton on Dec 10th as part of the city’s annual Beach Hut Advent Calendar event.

We decorated the hut with an olive tree, a dove, Christmas lights, candles, cushions, and symbols of the three Abrahamic religions. We brought PSC leaflets and magazines, and photos from Active Stills and Against the Wall by William Parry, who lit up London with his recent images of Bethlehem this week. The local BBC covered our event, though naturally they airbrushed all references to Palestine … But the many passers by engaged deeply with what we had to say, and in particular with the writing of Mahmoud Darwish, whose ‘State of Siege’ we read from at the end. BWISP poets Naomi Foyle and Judith Kazantzis also read from their own work about Palestine. Here, with all our hopes for peace and justice in the Holy Land, is Judith’s poem for your seasonal reflections:

The Magi return for Palestine 2010

In Bethlehem was born a slaughtered babe
his breast’s a wound.
See the war horse saddled with crimes.

In Palestine was born a babe,
a dozen, a hundred,
the mothers do a body count –

Of all the children born that day
we cared for only one.
The library in the palace of our brains

said, he’s the only one,
and we misread, and to redress,
we must come back again.

*
In Bethlehem and round about
each village and every farm
every mill and bakery,
every cobbler tapping leather,
every wheel the wheelwright worked,
under the table they hid their infants,
behind the chair,
in every house in Palestine
a babe was born,
wrapped and buried,
a dozen, a thousand,
you couldn’t keep count.
That winter, what did we know?
And so we come again.

As to that year, we left quietly,
steered by our learned star
trying to avoid all other sights,
the incandescent phosphorus stars
that rained all strange night on house and barn,
We left quietly once and long ago.

*

Ride here again, wrench the eye
in the new cruelty of the stars
to the flash, the uproar of breaking houses
down the alleys of the souk
down the souk of the mind.

*
Ride back and still we see thee lie,
O little town of Bethlehem,
children running from the sword the gun
a bitter night for what was festival.
In the library of the night,
O walled up Bethlehem,
we’ve read of a infant constellation,
a second coming in your silent sky.

Wise or not, knowing only truth,
this time we mean to witness a birth
when all your children shall dream
in the freedom of all the stars that are,
the safe shepherds of their dreaming.
And this is why we come again, we stay.
This time we will not go away.

The following letter expresses the support of the signatories for the cultural and academic boycott of Israel. A shortened version appeared in the IoS 6.6.10.

Dear Editor

The murder of humanitarian aid workers aboard the Mavi Marmara in international waters is the latest tragic example of Israel’s relentless attacks on human rights. But while violently preventing the free passage of medical, building and school supplies to Gaza, Israel continues to pride itself as a highly cultured, highly educated state. In solidarity with Palestinian civil society and its call for a Boycott Divestment and Sanctions campaign against Israel, we the undersigned therefore appeal to British writers and scholars to boycott all literary, cultural and academic visits to Israel that are sponsored by the Israeli government, including those organised by Israeli cultural foundations and universities. (This boycott does not include courageous independent Israeli organisations who openly oppose the occupation.) We also ask that writers, poets and British funding bodies actively support Palestinian literary events, such as the Palestinian Literary Festival and the Palestinian Writing Workshop.

Materially and ideologically, state-sponsored Israeli academic and cultural events both prop up and mask the continuing brutal occupation of Palestine. Israeli universities are key players in the creation and dissemination of government policy, and while some Israeli cultural foundations may promote ‘dialogue’ between the two peoples, there can be no true dialogue when one party is a military superpower and the other a nation of second-class citizens, refugees and virtual prisoners. Appearing as an international guest at all such Israeli cultural and academic events helps to divert attention from, and normalize, Israeli war crimes in Gaza; the annexation of East Jerusalem; and the on-going illegal settlement of the West Bank. Such appearances will also help to normalise Israel’s recent abhorrent military actions at sea.

More information on the cultural and academic boycott of Israel may be found at http://www.pacbi.org and http://www.bricup.org.uk. But in brief, we the undersigned do not wish to lend our presence or approval to cultural or academic events underwritten by the State of Israel, nor do we wish to help sustain the deliberately fostered illusion of moral and military parity between the two actors in this conflict. Rather as Britons and British residents, we believe that we have a historical and moral obligation to support the legitimate aspirations of the Palestinian people in their struggle for long-denied peace, justice and self-determination.